Haverwood.

Maternal Instinct Jessica Dimmock USA, 2026 ★★★ damn.

this one made me a little bit more understanding of religious people from small towns.

Spacewoman Hannah Berryman USA/UK, 2024 ★★★ Eileen Collins, what a bad-ass lady.

Huo zhe yan Kenji Tanigaki Hong Kong/China, 2025 ★★★ I already used my "this is so stupid, I love it" comment the other day, and I don't feel like repeating it.. but yeah.

you know who these things work: paper-thin plotline, short and cliché-ridden lines of dialogue, everything a mere excuse to pause all the fighting scenes. of which there are plenty! and all good!

Obsession Curry Barker USA, 2026 ★★ when I saw the blumhouse logo I thought "oh no" but immediately try to reassure myself "well maybe they just bought it for distribution".

I believe that was the case. it doesn't look too cheap or horribly lazily made, so, no blumhouse production worries there. but I don't think it quite works, either. I saw curry barker's short MILK & SERIAL which was 60 minutes too long and went nowhere, but hey, let's check this one out, a real production, with real money? maybe this one will go somewhere.

not quite, unfortunately. the actors are all good, specially inde navarrette, who is REALLY special and would've kicked so much ass with a slightly more insightful script, but whatever, it's fine. it's the blumhouse curse.

Passenger André Øvredal USA, 2026 ★★★ this is so stupid, I love it.

Alien Ridley Scott UK/USA, 1979 ★★★★★ "Primordial… deep cold… way below the line…"

Miss You, Love You Jim Rash USA, 2026 ★★★ if you got a story that maybe was told (more than) a few times*, you better get yourself good players. and this one's got 'em.

Song of Avignon Jonas Mekas USA, 1998

The Two Escobars Jeff Zimbalist, Michael Zimbalist USA, 2010 ★ so I watched this because of all the hype online and.. it's kinda terrible?

it fails from the very beginning, focusing (and even lying) on key aspects. let's check the plot synopsis: "andrés escobar was the biggest soccer star in colombia"

what? hell no. in a team with freddy rincón, valderrama, tino asprilla, el tren valencia, rené higuita, óscar córdoba, and other BIG names, andrés escobar was a mere supporting player, a name to fill the squad. you know what was HIS thing? his last name was "escobar". so let's focus on that, the filmmakers thought, and use the title "the two escobars". "you know, because of pablo escobar?" - "genius!" was the reply, followed by a high-five. lame.

it's an oversimplified point of view. I was reminded of chuck norris vs communism, a great documentary on the bootlegging of movies in romania in the 80s. that was a very real thing, but the documentary sillily focused on the bootlegging as the sole reason the dictatorship ended. which, really, it's a very stupid point to make. here, the connection is almost as silly, while basically non-existent. "yeah, let's base our whole documentary on people sharing the last name" - mind-boggling.

and don't get me started on some of the editing choices here. they really approached this as "entertainment for stupid people". it's almost infuriating.